By Miguel Beistegui
This ebook makes a speciality of a measurement of artwork which the philosophical culture (from Plato to Hegel or even Adorno) has continuously missed, such was once its dedication – specific or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this size, which unfolds outdoor the distance that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and convey how the operation of artwork to which it corresponds is better defined as metaphorical. The flow of the ebook, then, is from the classical or metaphysical aesthetics of mimesis (Part One) to the aesthetics of the hypersensible and metaphor (Part Two). opposed to a lot of the heritage of aesthetics and the metaphysical discourse on artwork, he argues that the philosophical price of artwork doesn’t consist in its skill to bridge the distance among the practical and the supersensible, or the picture and the assumption, and display the practical as proto-conceptual, yet to open up a special experience of the practical. His goal, then, is to shift the place and role that philosophy attributes to paintings.
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Additional info for Aesthetics After Metaphysics: From Mimesis to Metaphor
The truth of art itself consists in its own self-overcoming in a higher, unlimited expression of the absolute. The truth of art lies in art’s ability to transform itself into non-sensuous truth. 4 ADORNO Reversing further the Platonic exclusion of art from truth, extending and radicalising the Hegelian connection between art and truth, Adorno’s aesthetics seems to unfold at the very limit of metaphysics, and broach a space for art outside the Platonic-Aristotelian schema. Speciﬁcally, by suspending the classical subordination of artistic images to philosophical truth, by rehabilitating the sensuous and the material in art against conceptual abstraction—the very abstraction that, according to the authors of The Dialectic of Enlightenment, led to the domination of “instrumental reason” in modernity—and by asserting art’s autonomy from bourgeois society, Adorno’s aesthetic theory seems to signal a radical departure from the idealist framework and the hierarchy in which, up until then, metaphysics had inscribed the work of art.
52 Music expresses only the quintessence [das Wesentliche] of life and of its events, and never the actual events themselves—this or that emotion, passion, or affliction. This is the extent to which it is a direct copy of the will, and not a copy of a copy, or a simulacrum. Music is the noumenon that is closest to the phenomenon, or the 40 Aesthetics After Metaphysics metaphysical in the physical. ”53 With his remarkable appreciation of the speciﬁcity of music, and of the manner in which it escapes the Platonic suspicion regarding mimetic art, Schopenhauer tests the limits of metaphysical aesthetics.
On the contrary: what the Romantics sought to do was to present nature as we see it, in its appearance rather than its causal connections, and this means as it is always only partially revealed, mysterious, veiled. The symbol emerges within this tension between the visible and the invisible, or between visibility and blinding. For the artist, it isn’t a matter of lifting the veil of nature, but of showing it as that through which nature reveals itself, as an enigma. It is only through such a veil that we intimate the inﬁ nity of nature and that nature remains the object of our desire.
Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui